Tag Archives: LUT

Workflow

Colour Management In Adobe Premiere Pro

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30 Years of Rec-709.

Most of us are familiar with Rec-709. It is the colourspace for standard dynamic range television that was introduced in the early 1990’s. Most of us have been working with and delivering Rec-709 content for the past 30 years.

Because Rec-709 has been around for so long, the majority of the editing and grading software that we use defaults to Rec-709. Rec-709 has a limited dynamic range and a limited colourspace. It was designed around the TV technologies available in the 1990’s when Cathode Ray TV’s were still dominant and LCD screens were nowhere near as good as they are today.

But things are changing. 

Most good quality phones, tablets, laptops and TV’s on sale today support bigger colourspaces than Rec-709. And most can now display high dynamic range HDR images. Streaming services such as Netflix, Amazon, Hulu etc are all streaming HDR content. Even YouTube and Vimeo fully support HDR. Eventually HDR will become completely normal and Rec-709 will fade into obscurity. 
But right now we are in a transition period where a lot of content is still mastered and delivered in SDR but at the same time there is a need to deliver more and more HDR content.

Colour Management.

One way to make this easy is to use colour management in your editing and grading software. In a colour managed workflow the editing/grading software will try to determine the colourspace of your source material  by reading the metadata contained in the file. Then it will determine the required delivery colorspace, usually based on the setup of your monitor or you can tell the software which colourspace you want to deliver your files in.

The software then converts from the source colourspace to the final output colourspace. The end result is that regardless of the colopurspace of your source footage, it will look correct on your monitor with the correct contrast and correct colour saturation. All your grading adjustments are applied to your footage in it’s original state which maximises the final image quality. This also makes it possible to change the output colourspace from one colourspace to another without having to change the grade – one grade can be used for many different output colourspaces. All you need to do is to change the output colourspace setting. 

OK, it isn’t always quite as simple as that – you might need to make some fine tuning adjustments to your grade if you switch your output between HDR and SDR. But overall, if you grade something correctly for HDR and then switch to an SDR output, it should still look pretty good and this greatly simplifies your workflow if you need to deliver in both HDR and SDR.

S-Log3 is not, and never has been flat!
 
S-Log3 and other log formats should never look flat. The only time they look flat is when there is a miss-match in the colour space between the material and the way it is being viewed.
 
S-Log3 in a Rec709 project looks flat because of this miss-match, this is NOT how it is supposed to look. But because in the early days most software only supported Rec-709, S-Log3 always looked wrong and as a result looked flat. In legacy workflows where there is no colour management the most commonly used solution to make S-Log3 look right is to add a LUT. The LUT transforms the S-Log3 to Rec-709 (and perhaps adding a creative look at the same time) so that the contrast and colour now looks correct.

Need To Deliver In HDR.
 
But we are now starting to need to deliver content in a lot more standards than just Rec-709.  HDR10, HLG, Rec2020 etc are now common and LUT’s designed to go from S-Log3 to Rec709 are no use for these alternate colourspace outputs.
 
So, most of the editing and grading software platforms we use are moving to colour managed workflows where the software detects the colourspace that the source material is in as well as the colourspace you are monitoring in and then automatically transforms the source material to the correct output colourspace. This eliminates the need to use LUTs, your footage will always look correct. This way all your grading adjustments are applied directly to the source material without being restricted to any particular colourspace and you can change the output colourspace to different spaces depending on what you need to deliver and you don’t need to change the grade for each alternative output.
 
By default in the latest version of Premiere Pro colour management is normally disabled, but some earlier versions enabled the colour management by default.

Enabling Colour Management.
 
To enable colour management in Premiere Pro 2025 (version 25.0 and later) go to the Lumetri panel and  under “Settings” “Project” enable (tick) the “log auto detect colour space” setting. Now Premiere Pro will detect the colourspace that your footage was shot in and colourspace transform it to you projects output colourspace. It is also worth noting that there is an additional setting that allows you to select the correct viewing gamma for the desired output, whether you are making content for the web or for broadcast TV.
 


If you want to deliver in HDR a bit further down in the settings you will also find the ability to change the timelines working colourspace, under these setting you can quickly change the timeline from Rec-709 to Rec2100 PQ (HDR10) or Rec2100 HLG for HDR. Changing this setting will change the working and output colourpace – note that if the colourspace of your monitor does not match these settings the image will not be correct – for example if you are using a Rec-709 monitor and you select Rec-2100 PQ the viewer images will appear flat.
 

If using a computer with a colour managed HDR screen, for example a MacBook, you will also need to allow Premiere to manage the computers Display Colour Management so that the viewers are displayed in the correct colourspace and then enable Extended Dynamic Range monitoring if the monitor is capable of displaying in HDR in the Lumetri settings under “Preferences”.


Be aware that if you allow Premiere to manage your colourspace this way you will no longer be able to use the majority of the LUT’s designed for S-Log3 as these LUT’s include a colourspace transformation that you no longer need or want. But – now you are free to deliver in both SDR and HDR without having to create different grades for each.

The colour management in Premiere is still somewhat basic, but it does work. But it’s very difficult to use the colour management and LUTs at the same time. Personally I much prefer the colour management in DaVinci Resolve which has a lot more options and the ability to add additional colourspace transformations as part of the individual grade used for each clip. This allows you to add LUT’s designed for a huge range of different colourspaces within different overall colour spaces.


Burano, FX3, FX30, FX6, LUTs, PXW-FX9, Scene Files and Luts

Copying a LUT from a Sony FX camera into DaVinci Resolve.

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A question that comes up quite a bit is – how do I get the LUT I have been using in the camera into DaVinci Resolve.

There are two parts to this. The first is how do you get the LUT you are using in the camera, out of the camera. Perhaps you want to export the s709 LUT or perhaps some other LUT.

To export a LUT from the camera you can use the embedded LUT option that is available when using the Cine EI mode. 
If you turn on “Embedded LUT” on the camera and record a clip the camera will save the LUT on the SD card under:

FX3/FX30 – private – M4ROOT – GENERAL – LUT folder.

FX6/FX9 – private – XDROOT – GENERAL – LUT folder.

Then to get a LUT into DaVinci Resolve the easy way is to go to the Resolve preferences colour management page, scroll down and there is an “open LUT folder” button that will open the LUT folder. Copy your LUT into this folder. Then click on the “Update Lists” button. Now your LUT will be available to use in Resolve.

FX6

Why is there a ! next to my LUTs after FX6 firmware update?

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If you have just updated your FX6 firmware and are now finding that there is an exclamation mark ! next to the LUT or base look name what this is telling you is that the LUT cannot be saved using the new Embedded LUT feature.

In previous firmware versions the camera used to save LUT’s internally using a  format that would not be compatible with most edit or grading applications when saved in the cameras metadata as an embedded LUT.  So, old LUTs loaded in previous firmware versions will show a ! before the LUT name. The LUT should still work, you just won’t be able to save it as an embedded LUT.

The only way to resolve this is to delete the LUT from the camera and then reload it from the original source. LUTs for the FX6 should be 33x cube LUTs.

Don’t forget I offer a wide range of free LUTs that work perfectly with the FX6,  take a look here: https://www.xdcam-user.com/picture-settings-and-luts/alisters-free-luts/

FX6

Sony Releases FX6 Version 4 Firmware

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Announced earlier in the year, Sony has now released their version 4 update for the FX6. This is a very nice upgrade for the camera adding several very useful features, some of which have been available on the FX30 and FX3 for some time.

I recommend you do this update, there is no need to go via version 3 if you are still on version 2, you can go direct to version 4.

You will find the firmware here: https://www.sony.co.uk/electronics/support/interchangeable-lens-camcorders-ilme-series/ilme-fx6v/software/00259041

Place the downloaded BODYDATA.DAT file on an SD card that you previously formatted in the camera. Do NOT put the file inside any other folder on the SD card then put the card in the lower of the cameras 2 SD card slots and from the full menu go to  Maintenance/Version/Version Up. Like many of Sony’s camera firmware updates the camera will appear to stop functioning and the LCD screen will go blank during the update process, the only clue that it is actually progressing will be the flashing red LED next to the upper SD card slot. The update doesn’t take long, around 5 mins, but whatever you do don’t panic when you see the LCD go blank. Just wait for the update to complete at which point the camera will restart.

Benefits and Improvements

  • Adds support for Movie file names in the Camera ID + Reel# format
  • Adds a function that displays De-squeeze (2.0x, 1.3x) in the viewfinder and HDMI output
  • Adds more AF frame rates during Slow & Quick Motion
  • Adds support for Flexible ISO and Cine EI Quick in shooting mode:
    • Allows you to record S-Log3 content with exposure settings by adjusting the ISO sensitivity
    • Allows you to record at a base ISO setting the same as Cine EI, with the base ISO adjusted automatically in conjunction with EI value
  • When the shooting mode is set to Flexible ISO, Cine EI, or Cine EI Quick, adds support for recording a 3D LUT file to the same memory card with the base look used during shooting as the shooting data, at the same time

FLEXIBLE ISO

Flexible ISO allows you to shoot using S-Log3 while monitoring via a LUT, but it is NOT a CineEI or Exposure Index mode. In this mode when you raise the ISO above the base ISO of 800 or 12800 you actually add digital gain to the S-Log3 recordings, making them brighter (and noisier). The camera isn’t becoming more sensitive, this is just a gain increase (alternately you can add gain in post and the result is broadly similar).
DO be aware that there can be a loss of dynamic range whenever you are shooting above the cameras base ISO. This will normally be a decrease in the highlight range. But, I would imagine that most people that are using this mode will be doing so because they don’t have enough light for 800 ISO. So, a loss of highlight range is perhaps unlikely to be an issue. As with CineEI you can monitor via a LUT and when exposing via the s709 LUT you should use the same levels as when shooting using CineEI (middle grey 44%, white card/white paper 78%, pale skin tones 60-65%).

CINE EI QUICK

This is the CineEI mode I use the most. It works the same as normal CineEI except in this mode the camera will automatically raise the base ISO to the high base ISO to 12800 ISO as you go above 2500 EI and then lower the base ISO back down to 800 ISO as you drop the EI below 3200 EI. I find this helps avoid ending up at a very high EI or very low EI (relative to the base ISO) by mistake and makes it quicker to work in changing light conditions. 

EMBEDDED LUT

Enabling Embedded LUT (Full Menu/CineEI/Flex ISO Set/Embedded LUT File) allows the camera to save the LUT that you are using within the metadata on the SD card. This helps keep the footage and the LUT together in the same place which can assist post production ensure the correct LUT is used. Of course – when you do your back ups you need to make sure you copy the entire contents of the card (which is best practice anyway).

 

FX3, FX30

What do the FX3 and FX30 zebras measure when using the Cine EI modes?

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This is a question that keeps popping up:

What do the zebras measure when shooting S-Log3 using the CineEI modes in the FX3 and FX30?

The convention for zebras with the majority of cameras is that zebras are a viewfinder applied measurement. As such they almost always measure the “viewfinder” image. As the LCD on the FX series cameras is in effect the viewfinder, the zebras measure what you see on that screen. So, when you have a LUT on, the zebras measure the LUT, not the S-Log3.

Common ways to use the zebras include measuring skin tones, which for the default s709 LUT will be somewhere in the region of 60% depending on the face brightness. You could also use the LUT’s to measure the brightness of a white card or white piece of paper which should be around around 81% for a proper white card or 83% for white paper.  

You could also use Zebras to indicate when you are close to clipping Depending on the LUT that you are using the peak LUT output will typically be at 100%, so a common usage would be to have Zebra 2 (which measures from the zebra point and everything above) set to a touch below 100 to act as a clipping indicator. BUT it must also be remembered that depending on the Exposure Index in most cases the LUT will have a lower highlight range than the S-Log3 recordings. So, when your highlights hit 100% on the LUT there may still be available headroom in the S-Log3 recordings. If you end up backing off your exposure every time the LUT clips you may be missing out on the full recording range and un-necessarily bringing the mids and shadows down. So, my preference is to measure the exposure of a white card or skin tones and to get the mid range and shadows right, rather than obsessing over small amounts clipping.

The s709 LUT does fit the full highlight range of the S-Log3 into it’s output. But as there is only a tiny difference between +5 and +6 stops (approx 1.5%) it is very difficult to determine what is clipped and what is 1 stop below clipping. +4 stops above middle grey is output at 93% and +6 above middle grey is at 98% so it becomes very difficult to see what is really going on in the highlights via the LUT when the top 2 stops are crammed into just 5% of the recording range. Zebra 2 set to 95% (for example) would appear over 1.5 stops below clipping, even if set to 97% zebras will show almost a full stop below clip.

It is one of the frustrations of the FX3/FX30 that there is no way to monitor via the LUT and measure the S-Log3 at the same time.

FX6, PMW-F55, PXW-FS5, PXW-FS7, PXW-FX9

Using The S-Log3 LUT To Bake In The EI

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Many people wish to bake in the cameras Exposure Index settings when shooting using CineEI in order to avoid having to make an exposure correction in post production (given that the cameras are ISO invariant when shooting Log in reality it makes vey little difference whether you add gain in the camera or in post production – gain is gain). On cameras such as the FS7, FX6 or FX9 one way to do this is by baking in the built in S-Log3 LUT.  To avoid confusion – that is using the CineEI mode with the “S-Log3” LUT enabled and in the LUT settings “Internal recording” set to ON so that you are recording the “S-Log3” LUT.

While this will bake in the EI change, this technique comes with many issues. For a start, just as when you use S-Log3 in custom mode and alter the ISO, whenever you move away from the cameras base ISO you loose dynamic range. When you bake in a LUT and change the EI, you are in effect changing the ISO and there will be a corresponding loss of dynamic range. When you bake in a LUT this loss of dynamic range is exacerbated by a reduced or altered recording range.

At lower EI’s the available recording range shrinks as the LUT is made darker and at the same time upper recoding level of the LUT is reduced. At 200 EI the recording range only gets to around 78%. At the bottom end the shadows are crushed and shadow information lost by the range reduction. This then causes a post production issue because LUT’s designed for the normal S-Log3 input range of 0-94% will now be applied to recordings with a much reduced range and after application of a LUT in post the final output won’t get to 100% without further complex grading where the image will need to be stretched more than normal and this degrades quality.

At high EI’s the LUT becomes brighter but the clip point remains the same.  So for each stop you go up, 1 stop of highlights just disappears beyond the LUT’s hard clip point and can’t be ever recorded. Again in post this can cause issues because when you apply a normal S-Log3 LUT the heavy clipping in the recording causes the highlights to look very heavily clipped (because they are). Again, for the best results you will need to grade your footage to allow for this.

So, in practice the idea of baking in the S-Log3 LUT to eliminate the need to do any post production corrections doesn’t work because the addition of the S-Log3 LUT introduces new limitations that will need to be corrected if you want good looking images. Plus adding the S-Log3 LUT in camera and then adding another LUT on top in post is never going to deliver the best results due to the way LUT’s divide the image into brightness zones.

And – if you are baking in the S-Log3 LUT, then really this is no longer EI as there is now no longer an offset between the exposure and the recording, you are simply recording at a higher/lower ISO.

LUTs

New LUT -Incandescent- added to my LUT collection.

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This is the 3rd and final LUT in the free three LUT set I promised by the end of 2022. Incandescent goes with my Elixir and Solitude LUT’s to complete the set of 3 film style LUTs. Elixir is the base LUT with a neutral film style look, the second LUT is called Solitude which provides a cooler, stark look. Incandescent provides a pleasing warm look, perhaps for feel good or romantic scenes. It might even be a good choice for a happy Christmas look or feel. To download this new LUT go to my LUT page where you will find a wide selection of free LUT’s.

This LUT set can be used with any Sony camera that shoots S-Log3 with SGamut3.cine. So they are perfect for the FX30, FX3, FX6, FX9, Venice as well as the A7S3 etc.

If you find my LUT’s useful please spread the word and link to my Free LUT page so that others can also benefit. More LUT’s will be coming next year.

Alisters Free LUT page.

Have a great Christmas everyone.

Everything Else

FX6 Guide To Cine EI Updated

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I have updated my guide to the FX6’s CineEI mode to ensure it is up to date and compatible with any changes introduced in the Version 3 firmware update. The revised and updated guide includes new graphics that I hope will make the CineEI mode easier to understand for those completely new to shooting S-Log3 and the Sony FX6.  

If you are struggling to get to grips with CineEI in the guide I take a step by step approach to using S-Log3 on it’s own without any LUT’s or EI offsets, then introducing the s709 LUT at the base EI and then show how you use different EI levels to offset you exposure. There are suggested exposure levels for both white and grey cards as well as skin tones.

Click here to go to my updated FX6 CineEI guide.

LUTs, Scene Files and Luts

New Free LUT for Sony Cameras -Solitude

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It’s Black Friday, so here is my Black Friday offer – a new free LUT.

Solitude is a new free LUT for any Sony camera that shoots using S-Log3 and SGamut3.cine. This is the second in a series of 3 free LUTs that I am releasing between now and Christmas. The first was Elixir which gives a rich film like look. Solitude is closely related to Elixir but gives a cooler more metalic look. I believe it is suitable for gritty drama or anything needing a cooler less warm look.  To see my free LUT collection and to download any of my free LUTs including both Elixir and Solitude follow this link – https://www.xdcam-user.com/picture-settings-and-luts/alisters-free-luts/

FX3, FX30, FX6, LUTs, PMW-F55, PXW-FS5, PXW-FS7, PXW-FX9, Scene Files and Luts

New LUT for Sony cameras and S-Log3 – Elixir

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I’ve added a new LUT for S-Log3 and SGamut3.cine to my free LUT collection. The new LUT is called Elixir and is the first LUT from a collection of 3 new LUTs with similar contrast and brightness but quite different colours that I will be releasing between now and the end of the year.  Elixir is designed for short film projects and drama to provide rich colours with pleasing skin tones. Blues are shifted slightly teal, but there is no distracting colour cast, just pleasing colours with mid to high contrast. The LUT can be used with any Sony camera that has S-Log3 and SGamut3.cine, so that includes the whole of the Cinema Line including the FX6, FX3 and FX30 as well as cameras like the FS5 and FS7. For more information and to download this or any of my free LUTs please go to the LUT page: https://www.xdcam-user.com/picture-settings-and-luts/alisters-free-luts/